Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Palau and from Houston.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1965 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Hong Kong.
I'm losing my edge to the art-school Portland kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Larry & the Blue Notes to the disco kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Al Stewart. All the underground hits.
All Minnie Riperton tracks. I heard you have a vinyl of every Alton Ellis record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Essential Logic,
Eric Copeland,
Erasure,
Eyeless In Gaza,
Marmalade,
Howard Jones,
Jawbox,
Black Flag,
Matthew Bourne,
Supertramp,
Rakim,
June of 44,
Barbara Tucker,
Hardrive,
Bauhaus,
Bush Tetras,
Easy Going,
Dual Sessions,
Adolescents,
Main Source,
Manfred Mann's Earth Band,
Mad Mike,
Aural Exciters,
Parry Music,
Peter & Gordon,
Stockholm Monsters,
Pantytec,
Gastr Del Sol,
Visionaries,LMNO, T- Love & Iriscience,
Joe Smooth,
The Smoke,
Stiv Bators,
the Normal,
Gil Scott-Heron & Brian Jackson,
Major Organ And The Adding Machine,
The Slackers,
Andrew Hill,
Sunsets and Hearts,
The Vogues,
Robert Hood,
Roy Ayers Ubiquity,
Lindisfarne,
Judy Mowatt,
Technova,
Barrington Levy,
Popol Vuh,
Soul Sonic Force,
Country Joe & The Fish,
Crispian St. Peters,
Joey Negro,
The West Coast Pop Art Experimental Band,
DJ Style,
These Immortal Souls,
Derrick May,
Terry Callier,
Arab on Radar,
Marcia Griffiths,
DNA,
Graham Central Station,
Scientists,
The Fortunes,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.